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Международный отдел • International Division
ANTON ROVNER
Moscow State P. I. Tchaikovsky Conservatory
UDC 78.021
THE MUSIC OF ALEXANDER NEMTIN AND STANISLAV KREICHI
FOR THE ANS SYNTHESIZER*
T
he advent of electronic music in Russia came with
the appearance of the ANS synthesizer – virtually
the irst electronic instrument in the Soviet Union.
It was conceived of by scientist and engineer Evgeny
Alexandrovich Murzin in 1938 and manufactured in
1964 (a preliminary working model was built in 1958).
The name of the instrument was contrived from the
initials of Alexander Nikolayevich Scriabin, a composer
whom Murzin was especially fond of, and whose ideas of
microtonality he incorporated into the construction of the
instrument. The ANS synthesizer is constructed in such
a way that there are plates of glass covered with mastic.
Music is composed on the instrument by the composer
scraping off bits of mastic from the glass plate and then
processing the latter through an electric construction with
light, so whichever portions of the plates that have the
mastic scraped off convey the sound of the respective
pitches and registers. By this seemingly simple means
of sound production countless variants of sound become
available to composers. Thereby it is possible to create
purely sonoristic compositions with varying volumes
of sounds. It is also possible to ixate exact pitches and,
thus, to write tonal or atonal compositions, in which pitch
plays a greater role than musical texture. As a result,
there have even been arrangements made of works by
classical composers, including Bach and Tchaikovsky for
the synthesizer. Due to the capacities of the instrument
for microtonal intervals, it is possible to incorporate
various microtonal scales, up to 72 notes to the octave,
into musical compositions. The pitch-wise possibilities
of the instrument also make it possible to create
overtone sounds on it. As a result, a composer working
on the instrument can create certain concrete musical
textures by means of applying the overtone sonorities.
Thus, the possibility is open to imitate certain concrete
instruments, such as violins, lutes, clarinets, etc. Finally,
the instrument has also been used for sampling human
speech and creating actual sounds of words “pronounced”
by the ANS synthesizer, and not by a human being. The
latter occurrence made it possible to use the instrument
for lingual experiments at the Moscow University’s
Linguistics Department in the inal decades of the 20th
century. Thus the ANS synthesizer was unique in that it
was able to combine the functions of composition and
performance.
The preliminary working model of the synthesizer
contained 576 pure tones covering the range of 42-10800
herz, 8 octaves, 72 tones per octave, four optical discs,
each disc containing 144 tracks (covering 2 octaves)
with diameters of 120-130 millimeters, 0.31 millimeters
width and oscillation speed of respectively 12, 3, ¾ and
3/16 rotations per second. The ultimate model of the
ANS synthesizer, built in 1964, contained 720 pure tones
covering the range of 21 herz – 21.6 kiloherz (covering
10 octaves), with 5 optical discs with oscillation speed
of respectively 24, 6, 4/4, 6/16 and 6/64 rotations per
second.
The creator of the instrument, Evgeny Murzin was
born in 1914 in Samara and died in 1970 in Moscow.
He studied at the Samara Construction Technical School
and the Moscow Institute for Engineers of Communal
Construction and subsequently worked as a military
engineer dealing with technical devices for military
defense. At the same time, he was a devotee of music,
particularly of the works of Scriabin. In 1938 he turned
to the Moscow Conservatory and proposed the idea
of creating a synthesizer for musical sounds. He was
inspired by the musical experiments of “graphic sounds”
undertaken by music theorists Arseny Avraamov and
Evgeny Sholpo in the 1920s and 1930s. Murzin was only
able to accomplish his task of creating the instrument in
1958, which was a preliminary experimental wooden
model, built during the course of ten years in the composer’s apartment. In 1959 it was placed in the Scriabin
Museum in Moscow, after which Murzin began to invite
young composers to come and experiment with the
instrument and compose pieces for it. Among the irst
composers to work with the synthesizer were Nikolai
Nikolsky, Piotr Meshchaninov, Andrei Volkonsky
(virtually the irst composer in the Soviet Union to write
*
This article was initially written as a presentation for the 14th musicological conference “Principles of Music Composing: Sonorism,”
which took place in Vilnius, Lithuania (October 13-15, 2014). A version of this article is contained in the compilation of presentations of the
conference, currently being prepared for publication (2015).
Данная статья первоначально написана для выступления на 14-й музыковедческой конференции «Principles of Music Composing:
Sonorism», состоявшейся в Вильнюсе (Литва, 13–15 октября, 2014). Её вариант включён в сборник материалов конференции, готовящийся к публикации (2015).
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2015, 1 (18) М е ж д у н а р о д н ы й о т д е л • I n t e r n a t i o n a l D i v i s i o n
twelve-tone music, who wrote “Musica Stricta” for piano
and “Suite of Mirrors” for soprano and chamber ensemble
in 1960), Alexander Nemtin (who completed Scriabin’s
uninished mystical composition, the “Prefatory Action”),
Stanislav Kreichi, Oleg Buloshkin and Shandor Kallosh.
The inal version of the ANS synthesizer was constructed
in 1964. Following that, the young Russian composers,
who later achieved celebrity, also started coming to the
Scriabin Museum to work with the synthesizer. They were
Alfred Schnittke, Edison Denisov, Soia Gubaidulina and
Eduard Artemyev. The Moscow Studio for Electronic
Music was formally created in 1966 within the Scriabin
Museum, where the ANS synthesizer stood, even though
informally it existed ever since the working model of
the instrument was brought to the museum in 1959.
The electronic studio became not only a place where
composers came to work with the ANS synthesizer and to
compose music on it, but also a setting where intellectuals
and devotees of innovative musical trends, as well as
philosophical, mystical and esoteric directions that were
discouraged by the Soviet regime, came to socialize
with the composers and to discuss important aesthetical
issues. Two LP records of electronic pieces were released
by the “Melodiya” record irm (under the auspices of
which the Moscow Electronic Studio existed). The irst
one came out in 1973 and included works by Nemtin,
Kreichi, Artemyev and others. The release of the second
record was delayed until 1987, due to the fact that it
contained pieces by Schnittke, Denisov and Gubaidulina,
whose music was discouraged from being performed and
promoted in the 1960s and 1970s. The contents of both
LP records were released in CD format in the late 1990s
by the “Electroshock” CD label.
After Murzin died in 1970, there began a campaign by
Soviet authorities against the Moscow Electronic Studio,
which was seen by them as a haven for “decadent,”
“bourgeois” and “reactionary” artistic inluences. After
various repeated attempts, the government bureaucrats
inally succeeded in closing the studio in 1975. The
ANS synthesizer was saved from demolition with the
efforts of Stanislav Kreichi, who turned to the Linguistic
Department of the Moscow University and proposed that
the instrument be moved to one of the buildings of the
university to be used for linguistic experiments, namely,
for construction of human speech. Kreichi himself found
employment by the Linguistic Department of the Moscow
University, and his responsibilities included tending to
the instrument. The composer continued his own musical
experiments on the synthesizer, by composing music on
it, and he invited other composers to come and work on
the instrument, albeit on a much less overt scale than it
was possible to do so during the existence of the studio.
In the late 1980s and early 1990s, when the last of the
Soviet prohibitions against avant-garde and experimental
art were lifted, Kreichi was able to invite more composers
to the basement of the Journalism Department of the
Moscow University, where the ANS synthesizer stood,
on a much more overt capacity. The next dramatic
episode in the history of the instrument took place in the
summer of 2005, when the authorities of the Moscow
University decided to clear the basement of extraneous
objects, among them the ANS synthesizer, in order to use
the basement for the more practical purposes of earning
money. Kreichi was able to have the instrument taken out
of the basement and transferred to the electronic studio
of the Moscow Conservatory. A few months later, Yulia
Murzin, the scientist’s daughter arranged to have the
instrument transferred to the Glinka Museum of Musical
Culture, where it is standing up to the present day as part
of the permanent exhibition.
In the late 1960s and early 1970s the Moscow
Electronic Studio was a venue for many composers to
come and experiment with the ANS synthesizer. The
most famous Russian composers of the avant-garde
direction of Russian music, Alfred Schnittke, Edison
Denisov and Soia Gubaidulina each wrote one piece
for the instrument. Schnittke’s piece is called “The
Stream” and it is built entirely on various stratiications
of overtones upon the pitch “C,” as the result of
which a most interesting, constructively intricate and
emotionally saturating composition was formed out
of these sonoristic strata. Edison Denisov composed a
piece called “Bird Songs.” He incorporated in it actual
bird calls recorded by biologist Boris Veprintsev, which
the composer recreated on the mastic plate score of
the ANS synthesizer. Denisov’s “Bird Songs” exists
in two versions, the irst one being solely for ANS
synthesizer, while the second contains a piano part (also
incorporating bird calls), which may also be played on
other instruments. The piece does indeed bring in the
atmosphere of a large assortment of birds, including
owls, making their calls in a forest, along with sounds of
rustling trees in the wind and other imaginative sounds,
some of them purely abstract synthesizer reverberations.
Gibaidulina’s “Vivende – Non Vivende” incorporates
the recording of singing of a soprano along with the
sounds of the ANS synthesizer. The interplay and cross
relation of the sounds of the living soprano and the
“non-living” sounds of the synthesizer express the basic
conception of the piece. The latter include sustained and
altered reverberating sounds, as well as short percussive
effects. The recordings of the vocal sounds range from
unaltered to heavily distorted ones, the latter bringing
in a grotesque atmosphere. Eduard Artemyev, who
later made his name with his music for movies, wrote
two pieces for the ANS synthesizer, “Mosaic” and “12
Perspectives of Sound. “Mosaic” presents a sound
collage of mysteriously sounding, mostly reverberating
synthesizer textures with a very small quantity of
grotesquely distorted vocal effects. In “12 Perspectives
of Sound” twelve different sound textures are developed
on the instrument and presented successively, ranging
from static and mysterious to dynamic and harsh ones,
the latter especially endowing the composition with a
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Stanislav Kreichi was one of the irst composers to
write for the ANS synthesizer, and he continues to use
the instrument for his compositions up to the present
day. His music explores the various possibilities of
sonoristic technique, derived from the unusual means of
sound production of the ANS synthesizer and contains
rich, innovative textures, from the most experimental
ones to conscious stylizations of and derivations from
past styles. Many of his compositions present fertile
ground for analysis and demonstration in terms of their
formal structure, expressive means, depictive, theatrical
possibilities and imaginative sonoristic textures. His
earliest compositions were written in the 1960s at the
time of the Moscow Electronic Studio, and three of
them – “Echo of the East,” “Intermezzo” and the music
for the ilm “Cosmos” together with Artemyev – have
been recorded on the irst LP record. Unfortunately, all
the recordings of Kreichi’s other electronic compositions
from that time have been lost when the Electronic Studio
was closed in 1975.
“Echo of the East” lasts only two minutes in duration
and incorporates the exotic element of stylization of folk
music of unspeciied Asian countries along with modernist sonoristic textural effects common to a synthesizer,
at times bordering on popular music effects. In addition
to the textural sound of the melodic line resembling a
folk instrument from an Asian country, the exotic ethnic
element is also enhanced by the use of quarter-tones
intervals, bringing in additional afinity with Asian folk
music. The music for the ilm “Cosmos” is an extensive
12-minute piece featuring a set of successive episodes of
sonoristic sound effects, including static, vibrating and
glissando sonorities, all of them aspiring to explore the
hidden dimension of sound and, thus, quite appropriate
for depicting outer space and the cosmic dimension.
The music is greatly enhanced by certain episodes with
elements of more recognizable diatonic harmonies and
allusions to classical musical instruments, most notably,
the organ. “Intermezzo” is another short two-minute-long
piece with a lively, romantic emotional mood, composed
entirely in a popular quasi-jazz style current in the Soviet
Union in the 1960s, the sound textures greatly emulating
the sounds of a jazz orchestra, including woodwind and
brass instruments, drums and even a harmonica. It was
composed especially for an exhibition to which the ANS
synthesizer was taken in the 1960s and was meant to
demonstrate the possibility of electronic music of being
accessible for mass audiences.
Kreichi continued composing electronic music after
the closing of the Moscow Electronic Studio in 1975. In
the late 1970s, 1980s and early 1990s he cooperated with
a theater “Ognivo,” writing music on the ANS synthesizer
for two theatrical productions “Ogon’ nadezhdy” (“The
Fire of Hope”) and “Zavtra nachinayetsya vchera”
(“Tomorrow begins Yesterday.”) Since 1992 he has been
a member of the Society for Electronic Music, which is
a branch of the Moscow Composers’ Union, and every
vibrant and dramatic mood. There is an assortment of
pictorial associations present in the music, as could be
inferred from the sounds, some of which resemble bird
calls, airplane noises and sounds of wind. Artemyev
also subsequently incorporated the ANS synthesizer in
music for movies, most notably, for Andrei Tarkovsky’s
famous ilm “Solaris” released in 1972. Artemyev and
Kreichi also wrote jointly music for a short motion
picture “Cosmos” (“Outer Space”), part of which was
released on one of the LP records with music for the ANS
synthesizer. Composer Oleg Buloshkin wrote a short
piece called “Sacrament,” in which sonoristic synthesizer
effects were combined with a diatonic melodic line as
well as reverberating percussive effects, resembling
present-day trends in ambient music. Shandor Kallosh’s
“Northern Tale” is a ive-minute dramatic piece, making
use of a broad range of sound textures, ranging from
static to extremely dynamic and from mellow to harsh
ones. The succession of these textures and the impulsive,
unpredictable changes of textures and moods of the piece
create a vibrant dramaturgy, suggesting a narrative of a
story – the latter suggestion is greatly enhanced by the
descriptive title of the piece.
Alexander Nemtin wrote a number of pieces for the
ANS synthesizer, only two of which were recorded on
the LP record and, subsequently, on the CD – “Tears” and
an arrangement of Bach’s Chorale Prelude in C major.
“Tears” is basically a transcription of Nemtin’s short
choral piece with the same name, set to a poem by Walt
Whitman. The composer was able to use the sounds of the
instrument in such an original way, that the piece is not
perceived in the least as an arrangement of a choral work,
but as a true electronic piece, in which diatonic harmonic
progressions and intricate melodic writing blends very
well with non-diatonic textural sonoric effects, the latter
bringing in a cosmic feel to the piece. The arrangement of
Bach’s Choral Prelude demonstrates a sound texture very
close to that of the organ, and yet possessing individual
features of the sound of an electronic synthesizer as
well. Nemtin’s other pieces for ANS, not included in
the recording, include “Voice” and the Suite “Forecast.”
“Voice” is basically an arrangement for the ANS of a
movement of the composer’s “Concerto for Organ”,
namely, the Aria. The composer included the recording
of a solo soprano singing the melodic line of the Aria,
with the ANS synthesizer recreating the other voices in
an original manner, taking full advantage of the sonoristic
capacities of the instrument, so that it is not perceived at
all as an arrangement, but as an original piece, which in
its own right it is. The Suite “Forecasts” consists of four
movements – a lengthy “Fugue,” which has a serious,
philosophical mood and presents contrapuntal treatment
of melodic lines. The other three movements – “Polka,”
“Waltz” and “March” – are much shorter and have
humorous, theatrical characteristics, including humorous
kitsch stylizations of the Soviet popular music of that
time.
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year he has participated in the annual “Moscow Autumn”
festival, where the Electronic Society has a concert earch
year, for which he writes a piece every year. Thereby,
starting from the 1990s Kreichi has written a whole set of
interesting and imaginative electronic compositions, most
of which utilize the sonorities of the ANS synthesizer in
one way or another, sometimes fully, and sometimes with
added recordings of musical instruments, singing voices
or living sounds, but many of which make use of other
newer electronic and computer music programs. In recent
times he has been using pre-recorded samples of sounds
of the ANS synthesizer, processed by modern computer
programs, sometimes sounding unaltered, while at other
times greatly transformed. Many of his pieces are written
on certain literary, artistic or theatrical plots, thereby
incorporating pictorial and theatrical elements to the
music.
Some of Kreichi compositions are made almost
entirely of sounds of the ANS synthesizer with only a
small amount of added sounds. A most noteworthy
composition of this category is “ANSiana,” composed
entirely of sonorities of the ANS synthesizer. The irst
version of the piece was written in 2000, while the
second version was completed in 2014. In the latter
version the samples of sounds of the ANS synthesizer
are transformed in such a masterful manner, that they
are virtually unrecognizable, creating a most varied
assortment of sonorities, resembling both those of the
most advanced computer music programs, as well as prerecorded sounds of percussion or non-musical objects in
the manner of musique concrete. Other works composed
almost entirely of sounds of the ANS synthesizer include
the Triptych “Ocean” (with a small amount of added
voices of dolphins and drums), “The Heads” (a work
inspired by the painting “Eleven Heads” of Russian
artist Pavel Filonov), “The Birth of the Vertical” (with
added tremolo sounds on string instruments) and his two
compositions inspired by Mikhail Bulgakov’s novel “The
Master and Margarita,” namely, “Yeshua and Pilate”
(with added recordings of human voices) and “The Bad
Apartment” (with added recordings of string instruments
and also of joint improvisations with composer Nemtin
and Artemyev at the Scriabin Museum in the 1960s).
Three compositions were written for pre-recorded ANS
sounds and live performer on the theremin – “Immersion,”
“Contemplation” and “Confession.” The latter piece also
has a version with pre-recorded vocalization instead of the
part for the live theremin player. In other works sounds of
the ANS synthesizer are used on an equal proportion with
other sounds. The latter include “Rorshakh” (with added
sounds of musique concrete recordings) and “The Four
Seasons” (with recordings from sounds of nature). Some
pieces by Kreichi do not employ the ANS synthesizer at
all. They are: “Voices and Movements,” which consist
entirely of musique concrete sounds, “Ellipsiada,” a
work for a home-made instrument called the ovaloid, and
“Music for Wood and Metal,” consisting of the sounds of
these two components.
Since the late 1980s and early 1990s many composers
of the younger generations have come to compose music
on the ANS synthesizer, attended by Stanislav Kreichi –
irst in the basement of the Journalism Department of the
Moscow University, then at the Moscow Conservatory’s
Electronic Studio and, inally, at the Glinka Museum.
Many composers have tried out the synthesizer and written
at least one composition for the instrument. Among these,
mention must be made of Anatoly Kisselyov, the chairman
of the Association of Electronic Music, afiliated with the
Moscow Composers’ Union, who wrote his composition
“ANSynopsis” with the aid of the synthesizer. Another
composer who has written extensively for the ANS
synthesizer is Olesya Rostovskaya, who is also an
accomplished performer on the theremin.
The ANS synthesizer remains a noteworthy
landmark of the legacy of Russian contemporary music,
particularly electronic music. Having had an intriguing
and dramatic history – having served as virtually the
irst electronic instrument in the Soviet Union, on which
some of the greatest Russian composers of the late 20th
century wrote compositions, having been twice been in
danger of being virtually destroyed, having been saved
just in time by Stanislav Kreichi, and inally having
found a permanent home at the Glinka Museum, the
instrument remains an important artifact of 20th century
Russian music, and an a continued source of inspiration
for younger composers. The legacy of electronic
music composed for the instrument by the older and
younger generations of Russian composers has yet to
be discovered and appreciated in full by contemporary
music fans around the world.
ЛИТЕРАТУРА
1. Крейчи С. А., Ровнер А. А. АНС продолжает работать
// Музыкальная академия. 1999. № 4. С. 191–195.
2. Крейчи С. А. Моя АНСиана // Музыка для синтезатора. 2006. №1. С. 24–29.
3. Крейчи С. А. История синтезатора АНС // А. Н. Скрябин в пространствах культуры ХХ века / сост. А. С. Скрябин.
М.: Композитор, 2000. С. 193–199.
4. Мурзин Е. А. АНС – у истоков электронной музыки.
О природе, закономерностях эстетического восприятия и путях становления электронной музыки и цвета. М.: Композитор, 2008. 340 с.
5. Kreichi S. The ANS Synthesizer. Composing on a
Photoelectronic Instrument, 1997. Website of the Theremin
Center at the Moscow Conservatory. URL: http://www.theremin.
ru/archive/ans.htm.
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REFERENCES
1. Kreichi S. A., Rovner A. A. ANS prodolzhayet rabotat’
[ANS Continues to Work]. Muzykal’naya akademiya [Musical
Academy]. 1999, No. 4, pp. 191–195.
2. Kreichi S. A. Moya ANSiana [My ANSiana]. Muzyka
dlya sintezatora [Music for Synthesizer]. 2006, No.1, pp. 24–29.
3. Kreichi S.A. Istoriya sintezatora ANS [The History of
the ANS Synthesizer]. A. N. Skryabin v prostranstvakh kul’tury
XX veka [Alexander Scriabin in the Dimensions of 20th Century
Culture]. Compiler A. S. Scriabin. Moscow: Kompozitor, 2000,
pp. 193–199.
4. Murzin E.A. ANS – u istokov elektronnoy muzyki. O
prirode, zakonomernostyakh esteticheskogo vospriyatiya i
putyakh stanovleniya elektronnoy muzyki i tsveta [ANS – at the
Sources of Electronic Music. About the Nature, the Natural Laws
of Aesthetic Perception and the Paths of Formation of Music of
Electronics and Light]. Moscow: Kompozitor, 2008. 340 p.
5. Kreichi Stanislav. The ANS Synthesizer. Composing on
a Photoelectronic Instrument, 1997. Website of the Theremin
Center at the Moscow Conservatory. URL: http://www.theremin.
ru/archive/ans.htm.
The Music of Alexander Nemtin and Stanislav Kreichi for the ANS Synthesizer
Nemtin wrote a number of pieces for the ANS synthesizer, “Tears,”
an arrangement of Bach’s Chorale Prelude, “Voice” and the Suite
“Forecasts.” Stanislav Kreichi was one of the irst composers to write
for the ANS synthesizer, and he continues to use the instrument for
his compositions up to the present day. His earliest compositions,
from the 1960s, are – “Echo of the East,” “Intermezzo” and the
music for the ilm “Cosmos.”. In the 1970s and 1980s he wrote
music for theatrical productions. Since the 1990s Kreichi has
written a whole set of imaginative electronic compositions, most
of which utilize the sonorities of the ANS synthesizer, including
“ANSiana,” the Triptych “Ocean,” “The Heads,” “The Birth of the
Vertical,” “Yeshua and Pilate,” “The Bad Apartment,” “Immersion,”
“Contemplation” and “Confession.” The ANS synthesizer remains
an important artifact of 20th century Russian music, and a continued
source of inspiration for younger composers.
Keywords: ANS synthesizer, electronic music, Russian
composers, Alexander Nemtin, Stanislav Kreichi
The advent of electronic music in Russia came with the appearance
of the ANS synthesizer. It was conceived of by scientist Evgeny
Murzin in 1938 and manufactured in 1958. Its name comes from
the initials of Alexander Nikolayevich Scriabin. Music is composed
on the instrument by the composer scraping off bits of mastic
from glass plate and then processing the latter through an electric
construction with light. It is possible to create purely sonoristic
compositions, and also to ixate exact pitches in the music. In
1959 the ANS synthesizer was placed in the Scriabin Museum in
Moscow. A number of young Russian composers came to the Studio
to work with the synthesizer, including Nikolai Nikolsky, Piotr
Meshchaninov, Andrei Volkonsky, Alexander Nemtin, Stanislav
Kreichi, Oleg Buloshkin, Shandor Kallosh, Alfred Schnittke, Edison
Denisov, Soia Gubaidulina and Eduard Artemyev. The Studio was
closed in 1975, and the ANS synthesizer was moved to the Moscow
University. In 2005 it was transferred to the Moscow Conservatory,
and then to the Glinka Museum of Musical Culture. Alexander
Музыка Александра Немтина и Станислава Крейчи для синтезатора АНС
Электронная музыка в России родилась вместе с появлением
синтезатора АНС. Инструмент задумал учёный Евгений Александрович Мурзин в 1938 году и построил в 1958-м. Назван
инструмент в честь Александра Николаевича Скрябина. В ходе
сочинения композитор удаляет мастику со стекольной плитки,
а затем проводит плитку через электрическую конструкцию
со светом. Имеется возможность создания чисто сонористических сочинений, а также звуковысотной музыки. В 1959 году
синтезатор АНС был помещён в Музей Скрябина в Москве.
Среди композиторов, работавших в электронной студии –
Н. Никольский, А. Волконский, А. Немтин, С. Крейчи, О. Булошкин, Ш. Каллош, А. Шнитке, Э. Денисов, С. Губайдулина
и Э. Артьемьев. Студия закрылась в 1975 году, а синтезатор
был перевезён в Московский университет. В 2005 году АНС
переместили в Московскую консерваторию, затем в Музей
музыкальной культуры имени М. И. Глинки. Александр Немтин создал несколько сочинений для синтезатора: «Слёзы»,
«Голос», сюиту «Прогнозы», а также аранжировал Хоральную
прелюдию Баха. Станислав Крейчи одним из первых композиторов обратился к синтезатору АНС и продолжает писать для
инструмента по сей день. Его первые сочинения 1960-х годов
– «Отголосок Востока», «Интермеццо» и музыка для фильма
«Космос». В 1970–1980-е годы Крейчи сочинял музыку для
театральных постановок. С 1990-х годов он создал целый ряд
изобретательных электронных сочинений, в большинстве из
которых используется звучание синтезатора АНС. Среди них –
«АНСиана», триптих «Океан», «Головы», «Рождение вертикали», «Йешуа и Пилат», «Нехорошая квартира», «Погружение»,
«Размышление», «Исповедь» и др. Синтезатор АНС остаётся
важным артефактом русской музыки ХХ века и постоянным
источником вдохновения для молодых композиторов.
Ключевые слова: синтезатор АНС, электронная музыка, российские композиторы, Александр Немтин, Станислав
Крейчи
DOI: 10.17674/1997-0854.2015.1.18.038-042
Ровнер Антон Аркадьевич
Ph.D. (Университет Ратгерс, штат Нью-Джерси, США),
кандидат искусствоведения, старший преподаватель
кафедры междисциплинарных специализаций
музыковедов
E-mail: [email protected]
Московская государственная консерватория
им. П. И. Чайковского
Российская Федерация, 125009, Москва
Anton Rovner
PhD in Music Composition from Rutgers University
(New Jersey, USA), Candidate of Arts (PhD)
from the Moscow State Conservatory,
faculty member at the Department
of Interdisciplinary Specializations for Musicologists
E-mail: [email protected]
Moscow State P. I. Tchaikovsky Conservatory
Russian Federation, 125009, Moscow
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